MEMORIAL  EXHIBITION 
OF  PAINTINGS 


By  HENRY  GOLDEN  DEARTH,  N.  A. 


HENRY  GOLDEN  DEARTH,  N.  A. 


Catalogue  of 

A  Memorial  Exhibition  of  Paintings 


3y 

Henry  Golden  Dearth,  N.A. 


January  4th  to  30th 
1919 


GALLERIES  OF 

E.  GIMPEL  &  WILDENSTE1N 

647  FIFTH  AVENUE 
NEW  YORK 


Acknowledgment 


Messrs.  E.  Gimpel  &  Wildenstein  wish  to  acknowledge  their 
indebtedness  to  the  following  institutions,  organizations  and  per¬ 
sons  who  have  generously  contributed  paintings  as  loans  to  the 
present  Exhibition  : 


Art  Institute  of  Chicago,  Chicago,  Ill. 

Mrs.  Chauncey  J.  Blair,  Chicago,  Ill. 

George  Cary,  Esq.,  Buffalo,  N.  Y. 

Mrs.  Stephen  C.  Clark,  New  York  City. 

Mrs.  Henry  Golden  Dearth,  New  York  City. 

Mrs.  Michael  Dreicer,  New  York  City. 

George  Eastman,  Esq.,  Rochester,  N.  Y. 

The  Folsom  Galleries,  New  York  City. 

General  Edmund  Hayes,  Buffalo,  N.  Y. 

Walter  James,  New  York  City. 

Walter  Jennings,  Esq.,  New  York  City. 

Mrs.  Chauncey  Keep,  Chicago,  Ill. 

Louis  A.  Lehmaier,  Esq.,  New  York  City. 

Mrs.  Stephen  Pell,  New  York  City. 

Mrs.  Frederick  B.  Pratt,  Glen  Cove,  Long  Island,  N.  Y. 
George  Dupont  Pratt,  Esq.,  Glen  Cove,  Long  Island,  N.  Y. 
F.  K.  N.  Rehn,  Esq.,  New  York  City. 

Mitchell  Samuels,  Esq.,  New  York  City. 

Mrs.  Robert  M.  Thompson,  Washington,  D.  C. 

M.  Parish-Watson,  Esq.,  New  York  City. 

Joseph  Brummer,  Esq.,  New  York  City. 

Henry  L.  Lawrence,  New  York  City. 


2 


Announcement 


MEMORIAL  EXHIBITION 

1919-1920 

This  collection  was  organized  by  Mrs.  Henry  Golden  Dearth, 
and  Cornelia  B.  Sage-Quinton,  Director  of  The  Buffalo  Fine 
Arts  Academy,  Albright  Art  Gallery,  Buffalo,  who  will  have  it 
in  charge  during  the  entire  circuit,  throughout  all  of  the  mu¬ 
seums.  The  Exhibition  comprises  approximately  one  hundred 
paintings  in  oil  and  includes  all  of  Mr.  Dearth’s  most  important 
works,  representing  him  at  his  best  in  every  phase  and  during 
every  period  of  his  art. 

The  Exhibition  will  be  shown  at  the  following  museums : 

Gimpel  and  Wildenstein  Galleries,  New  York  City. 

The  Detroit  Museum  of  Art,  Detroit,  Mich. 

Carnegie  Institute,  Pittsburgh,  Pa. 

City  Art  Museum.  St.  Louis,  Mo. 

Hackley  Gallery  of  Art,  Muskegon,  Mich. 

The  Butler  Art  Gallery,  Youngstown,  Ohio. 

The  Art  Institute  of  Chicago,  Chicago,  Ill. 

Cleveland  Museum  of  Art,  Cleveland,  Ohio. 

Milwaukee  Art  Institute,  Milwaukee,  Wis. 

Des  Moines  Association  of  Fine  Arts,  Des  Moines,  Iowa. 

The  Toledo  Museum  of  Art,  Toledo,  Ohio. 

Cincinnati  Museum  of  Art,  Cincinnati,  Ohio. 

The  Minneapolis  Art  Institute,  Minneapolis,  Minn. 

Worcester  Art  Museum,  Worcester,  Mass. 

Rhode  Island  School  of  Design,  Providence,  R.  I. 

R.  C.  and  N.  M.  Vose,  Boston,  Mass. 


3 


Appreciation 


BY 

RENE  GIMPEL 
Paris 


L ’HOMME  cree  sa  vie.  Henry  Golden  Dearth  fit  la  sienne 
belle  parce  qu’il  possedait  jusqu’a  l’ultime  le  sens  de  la 
beaute  et  qu’il  ne  laissa  jamais,  fut-ce  meme  une  seconde, 
son  ame  inoccupee. 

Alors,  cette  ame,  pliee  a  se  mouvoir  dans  un  exercice  perpetuel, 
avait  acquis  une  sensibilite  qui  lui  faisait  percevoir  une  quantite 
innombrable  d’ondes,  inconnues  a  la  multitude,  capable  a  peine,  de 
temps  en  temps,  de  ressentir  une  emotion  plus  souvent  produite 
par  une  brutalite  que  par  la  sensibilite. 

Henry  Golden  Dearth,  avec  la  luddite  de  son  ame,  receptacle 
continu  de  ce  que  nous  appelons,  nous,  par  ignorance,  l’insais- 
issable,  avait  pergu  que  pour  une  humanite  superieure  l’ideal 
deviendrait  un  monde  tangible,  et  lui  qui  nous  dominait  y  vivait 
comme  dans  la  realite. 

Mais  comme  ces  sensations  n’ont  point  encore  atteint  les 
foules,  elles  n’ont  done  point  cree  les  mots  pour  les  expliquer; 
et  Henry  Golden  Dearth  devint  peintre,  non  par  l’effet  d’un 
simple  don  de  naissance,  mais  pour  trouver  un  moyen  d’exprimer 
ce  qu’il  ne  voulait  pas  qu’on  appelat  l’inexprimable. 

Devant  ce  vaste  monde,  il  n’eut  pas  l’intention  de  nous  en  faire 
saisir  tout  l’incompris.  Ce  modeste,  lui  meme,  etait  loin  d’avoir 
conscience  de  sa  haute  personnalite  spirituelle  et  il  chercha  tout 
simplement  a  nous  eduquer  quelque  peu. 

L’homme  cree  sa  vie.  Henry  Golden  Dearth  fit  la  sienne  belle 
parce  qu’il  possedait  jusqu’a  l’ultime  le  sens  de  la  beaute. 

Pour  ces  joies  pourtant  beaucoup  de  peines,  mais  pour  ces 
peines  beaucoup  de  joies. 

La  lumiere  fut  pour  lui  un  plaisir  incessant.  En  elle  il  sentait 
le  mouvement  du  monde  et  sa  transformation  continuelle.  Ce  ne 
fut  pas  surtout  devant  sa  toile  qu’il  l’etudiait,  mais  a  chaque 
instant  de  sa  vie,  et  e’est  ainsi  qu’elle  lui  permit  de  considerer  la 
solitude  comme  un  etat  d’ame  inexistant. 

Tandis  que  le  monde  pour  sa  jouissance  a  besoin,  dans  un 
temps  plus  rapide  que  la  realite  ne  peut  le  donner,  d’une  succes¬ 
sion  ininterrompue  d’images,  ce  qui  explique  le  succes  du  roman 
populaire  et  du  cinematographe,  Henry  Golden  Dearth  se  com- 
plaisait  a  fixer  en  silence  toute  chose  que  son  regard  atteignait, 
et  sur  l’immobilite  apparente  de  la  nature  il  regardait  glisser 
le  mouvement  de  la  lumiere. 

Cet  homme,  avec  l’immensite  de  sa  vision  et  devant  l’etroitesse 
des  moyens — un  pinceau,  un  chassis  et  de  la  couleur — ,  ne  se 
targuant  pas  de  dominer  la  nature,  mais  admettant  d’etre,  dirige 
par  elle,  comme  tous  les  autres  etres  humains,  ne  pretendit  pas 
pouvoir  la  rendre  toute  entiere,  mais  l’exprimer  avec  le  de- 
veloppement  progressif  et  continuel  de  sa  vision  vers  la  per- 


4 


fection,  but  qu’il  avait  la  haute  intelligence  de  savoir  insaisissable, 
puisqu’il  n’y  a  pas  d’arret  vers  le  mieux. 

Et  des  juges  inavertis  qui  ne  considereraient  que  la  rapide 
temps  ecoule  entre  la  date  de  sa  naissance  et  celle  de  sa  mort 
pour  definir  ses  differentes  manieres,  se  tromperaient  sur  son 
art. 

Son  art  fut  une  divination  effroyablement  rapide  mais  con¬ 
tinue  vers  un  monde  futur  plus  parfait;  et  si  sa  famille,  si  ses 
amis  qui  le  pleurent  se  lamentent  sur  la  brievete  de  sa  vie. 
1’avenir  qui  le  comprendra  mieux  que  nous,  puisque  lui,  l’artiste, 
s’en  est  rapproche,  mais  qui  n’en  sera  pas  moins  etonne,  aura 
besoin  de  savoir  pour  expliquer  une  progression  qui  represente 
par  son  evolution  un  travail  de  plusieurs  existences  humaines, 
que  dans  sa  courte  vie,  Henry  Golden  Dearth  ne  laissa  pas  une 
seconde  son  ame  inoccupee. 

II  allait  chaque  jour  rajeunissant  son  art,  comme  le  monde 
par  sa  cohesion  et  son  progres  acquiert  chaque  jour  plus  de 
force,  et  done  aussi  plus  de  jeunesse. 

Lorsque  sans  abandonner  le  paysage  ou  tout  est  lumiere,  il  se 
tourna  vers  la  figure  humaine  comme  nouveau  moyen  d’ex- 
pression,  il  crea  une  figure  que  nous  n’avons  point  vue  et  qui 
sera  celle  de  l’etre  futur  dans  une  societe  polie  et  de  haute  tenue 
artistique,  intellectuelle  et  philosophique. 

L’autre  grande  joie  de  sa  vie,  et  qui  se  rattache  a  son  art, 
fut  son  amour  pour  les  belles  oeuvres  du  passe  que  son  esprit 
regardait  comme  des  creations  gigantesques. 

Et  quoique  se  croyant  toujours  plus  petit  que  les  artistes  des 
anciens  ages,  l’intensite  de  sa  perception  intensifiait  sa  force, 
creatrice  d’ideal. 

Jamais  il  n’a  separe  son  observation  de  l’ancien  de  celle  de  la 
nature;  il  en  fit  toujours  une  seule  et  meme  etude.  Il  disait. 
avec  justesse,  que  le  travail  des  hommes  qui  avaient  cree  les 
oeuvres  qu’il  aimait,  n’etait  que  le  resultat  de  leur  interpretation 
individuelle  de  la  nature. 

Son  gout  le  porta  surtout  vers  l’exquise  sentimentalite  des 
petites  vierges  humaines  des  epoques  gothiques,  des  saints  et  de 
tous  les  personnages  si  vivants  de  ce  grand  peuple  de  pierre, 
qui  se  nicha  mouvant  aux  porches  des  eglises. 

Et  la  ou  d’autres  ne  voyaient  que  le  sentiment  divin,  lui, 
l’artiste,  frere  spirituel  des  anciens  tailleurs  d’images  discernait 
ce  qu’ils  avaient  emprunte  a  tous  les  sentiments  de  la  vie  quoti- 
dienne,  et  de  sa  comprehension  son  plaisir  jaillissait  decuple. 

Mais  pour  ces  joies  beaucoup  de  peines. 

Les  obus  allemands  qui  s’acharnaient  aux  murs  des  cathedrales 
labouraient  les  parois  de  son  coeur,  et  tandis  que  les  flammes 
d’enfer  de  ses  ennemis  calcinaient  les  paradis  legues  par  les 
aieux  pour  le  developpement  des  races  futures,  son  coeur  mar- 
tele  s’epuisait  chaque  jour,  et  le  Civilise,  precurseur  d’un  ideal 
humain,  est  tombe  avant  son  heure,  dans  la  bataille,  au  champ 
d’honneur,  victime  des  Barbares. 


5 


Biographical  Sketch 


HENRY  GOLDEN  DEARTH,  without  doubt,  was  one  of 
the  most  distinguished  figures  in  American  Art.  He  was 
a  fine  draughtsman  and  a  colorist  of  the  highest  order. 
His  art  may  be  divided  into  three  periods.  The  earliest  dated 
from  his  return  to  America  after  his  Paris  student  days,  about 
1890,  during  which  time  he  won  a  deserved  reputation  as  a 
poetic,  refined  tonal  painter.  Spending  most  of  his  time  in 
France,  he  was  naturally  fond  of  the  picturesque  country  and 
many  of  his  subjects  were  found  near  Boulogne  and  Montreuil- 
sur-Mer,  where  the  artist  had  his  summer  home.  The  second 
period  of  Mr.  Dearth’s  work  began  about  1912  when  he  revo¬ 
lutionized  his  palette  and  technique  and  began  painting  brilliant 
essays  in  broken  color.  His  work  of  this  date  included  figures — 
both  portraits  and  genre  subjects,  but  more  numerous  were  the 
exquisite  pools  produced  by  him,  which  were  principally  painted 
in  Brittany.  Nothing  could  be  more  charming  than  the  way 
in  which  Mr.  Dearth  reproduced  these  rock-closed  pools  right 
down  to  their  bottom  sands  without  worrying  over  the  chances 
that  the  canvas  might  not  at  first  tell  the  eye  what  was  seen 
above  and  what  below.  Naturally,  the  change  in  Mr.  Dearth’s 
style  attracted  much  attention.  The  new  canvases  were  highly 
colored  ;  the  pigment  thickly  applied,  and  one  was  at  once  im¬ 
pressed  by  the  decorative  effect  of  the  composition.  The  art 
world  while  surprised  at  this  change  in  Mr.  Dearth’s  art,  knew, 
however,  that  he  had  not  forgotten  anything  of  the  long  accumu¬ 
lated  observation  of  nature  which  formerly  was  of  such  great 
value  to  him  and  that  he  had  not  become  hardened  to  the 
influence  of  beauty  in  its  most  classic  forms.  It  realized  that 
as  long  as  he  relied  on  the  truth  in  nature  and  held  the  art 
of  the  old  masters  in  remembrance  he  would  still  be  able  to 
experiment  as  boldly  as  he  wished,  without  losing  his  integral 
and  hard  earned  aesthetic  appeal. 

The  last  and  most  important  of  Mr.  Dearth’s  works  are  very 
beautiful  and  utterly  unlike  his  other  two  styles.  These  paint¬ 
ings  are  carried  to  the  highest  degree  of  refinement  and 
aestheticism.  They  are  usually  arrangements  of  still  life,  Gothic 
and  Renaissance  subjects  painted  often  from  the  gems  of  Mr. 
Dearth’s  own  great  collection.  Sometimes  a  portrait  or  figure 
is  seen  against  a  background  of  early  textiles  or  wood  carvings. 
The  final  pictures  by  Mr.  Dearth  were  oriental  in  feeling;  im¬ 
portant  Japanese  screens,  early  Chinese  paintings  and  stone 
carvings  of  the  Wei  period  were  used  in  still  life  arrangements 
or  as  backgrounds  for  some  finely  modeled  figure. 

Henry  Golden  Dearth,  N.  A.,  New  York,  was  born  Bristol, 
R.  I.,  1864;  pupil  of  l’Ecole  des  Beaux  Arts  and  Aime  Morot, 
Paris  :  Webb  Prize,  Society  of  American  Artists,  1893;  bronze 
medal,  Exposition-Universelle,  Paris,  1900;  silver  medal,  Pan- 
American  Exposition,  Buffalo,  N.  Y.,  1901 ;  silver  medal,  Charles¬ 
ton  Exposition,  1902.  Member  of  the  National  Academy,  New 
York.  Represented  in  the  Metropolitan  Museum  of  Art  and 
Lotos  Club,  New  York;  Brooklyn  Institute  of  Arts  and  Sciences; 


6 


the  Detroit  Museum  of  Art;  the  City  Art  Museum,  St.  Louis; 
the  Art  Institute  of  Chicago ;  The  Buffalo  Fine  Arts  Academy, 
Albright  Art  Gallery,  Buffalo ;  the  National  Gallery  of  Art, 
Washington;  Carnegie  Institute,  Pittsburgh,  Pa.  Mr.  Dearth  is 
also  represented  in  the  private  collections  of  George  A.  Hearn, 
Esq.;  Dr.  Alexander  C.  Humphreys;  John  Harsen  Rhoades, 
Esq. ;  William  H.  Bliss,  Esq. ;  Henry  C.  Lawrence,  Esq. ;  Mrs. 
Stephen  Pell;  Mitchell  Samuels,  Esq.;  M.  Parish-Watson,  Esq.; 
Michael  Dreicer,  Esq.;  Louis  A.  Lehmaier,  Esq.;  Mrs.  Stephen 
C.  Clark;  Mrs.  Walter  James;  Walter  Jennings,  Esq.;  F.  K.  N. 
Rehn,  Esq. ;  Henry  L.  Lawrence,  Esq. ;  Joseph  Brummer,  Esq., 
New  York  City;  Frederick  B.  Pratt,  Esq.;  George  Dupont 
Pratt,  Esq.,  Brooklyn;  Mrs.  Robert  M.  Thompson,  Washington; 
Mrs.  Chauncey  Keep;  Mrs.  Chauncey  J.  Blair,  Chicago;  George 
Eastman,  Esq.,  Rochester ;  George  Cary,  Esq. ;  Ogden  P. 
Letchworth,  Esq.,  Buffalo. 

CORNELIA  B.  SAGE-QUINTON, 


7 


<1 


Catalogue  of  the  Paintings 


1.  A  XII  CENTURY  VIRGIN. 

Lent  by  Mrs.  Robert  M.  Thompson. 

2.  A  XV  CENTURY  GROUP. 

Lent  by  Mrs.  Michael  Dreicer. 

3.  JAN. 

Lent  by  Mrs.  Frederick  B.  Pratt. 

4.  A  MEDIEVAL  SAINT. 

Lent  by  Mrs.  Frederick  B.  Pratt. 

5.  THE  BUTTERFLY  ORCHID. 

Lent  by  George  Dupont  Pratt,  Esq. 

6.  THE  WORSHIP  OF  BUDDHA. 

Lent  by  Mrs.  Stephen  C.  Clark. 

7.  NINA. 

Lent  by  Mrs.  Stephen  C.  Clark. 

8.  THE  OFFERING  TO  BUDDHA. 

Lent  by  M.  Parish-Watson,  Esq. 

9.  THE  GREEN  ROBE. 

Lent  by  Mitchell  Samuels,  Esq. 

10.  TACHIBANA  (Queen’s  Flower). 

Lent  by  Mrs.  Chauncey  Keep. 

11.  MADONNA. 

Lent  by  the  Art  Institute  of  Chicago 

12.  A  DAGHESTAN  PLATE  (Sketch). 

Lent  by  Walter  Jennings,  Esq. 


9 


14.  THE  RHODIAN  JAR. 

Lent  by  Dr.  Walter  B.  James. 

15.  A  PORTRAIT. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

16.  STILL  LIFE. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

17.  THE  PERSIAN  PLATE. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

18.  MILDRED. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

19.  A  JAPANESE  PRINT. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

20.  MAN  O’  WAR  BROOK  FALLS. 

Lent  by  Mrs.  Chauncey  J.  Blair. 

21.  THE  BLUE  COAT. 

Lent  by  Mrs.  Stephen  Pell. 

22.  FISHING  BOATS  AT  ETAPLES. 

Lent  by  Mrs.  Stephen  Pell. 

23.  THE  PERSIAN  BOOK. 

Lent  by  Mrs.  Henry  Golden  Dearth. 

24.  GARDENIAS. 

Lent  from  the  Permanent  Collection  of  The 
Buffalo  Fine  Arts  Academy,  Albright  Art  Gallery. 

25.  ST.  MATIN. 

Lent  by  Henry  L.  Lawrence,  Esq. 

26.  ANEMONES  AND  FUCHSIAS. 

Lent  by  Joseph  Brummer,  Esq. 

27.  FIRE  LILIES. 

28.  THE  QUARRY. 

29.  SOMES  SOUND. 

30.  PARADISE  POINT. 


10 


31.  THE  WATERFALL. 

32.  WATERFALL  AT  AUBAZINE. 

33.  THE  CASCADE. 

34.  THE  BLUE  SEA. 

35.  LIFTING  OF  THE  FOG. 

36.  THE  RED  COAT. 

37.  THE  PERSIAN  JAR. 

38.  THE  DISTANT  SEA. 

39.  BRITTANY  CLIFFS. 

40.  LAST  PICTURE  (Unfinished). 

41.  THE  BLUE  GLASS  BOTTLE. 

42.  RUTH. 

43.  THE  BRONZE  BUDDHA. 

44.  PANSIES  AND  BUTTERFLIES. 

45.  THE  IMPERIAL  DRAGON. 

46.  A  DAUGHTER  OF  THE  NORTH. 

47.  THE  LADY  OF  THE  IRIS. 

48.  THE  BLACK  HAT. 

49.  THE  FAN. 

50.  CONCARNEAU  HARBOR. 

51.  TUNNY  FISH  BOATS,  CONCARNEAU. 

52.  THE  LEGEND  OF  ST.  HUBERT. 

53.  BEGONIAS. 

54.  OUR  LADY. 


11 


MARINES 


55.  AFTER  THE  STORM. 

Lent  by  F.  K.  N.  Rehn,  Esq. 

56.  DRIFTING  FOG. 

% 

57.  THE  SURF  AFTER  STORM. 

58.  CRANBERRY  ROCKS. 

59.  STORMY  SEAS. 

60.  THE  BREAKERS. 

61.  BAKERS  ISLAND. 

62.  SUNLIT  ROCKS. 

63.  STORM  ON  THE  BRITTANY  COAST. 

64.  THE  GREY  CLIFF. 

65.  ON  THE  BEACH  OF  KEREROU. 

66.  THE  GREY  SEA. 

POOLS 

67.  THE  PLACENTIA  POOL. 

68.  THE  SHELTERED  POOL. 

69.  THE  SAILBOAT. 

70.  RUSTY  ROCKS. 

71.  THE  BLACK  OPAL. 

72.  GRAY  POOL. 

73.  GRAY  POOL  NO.  2. 

74.  THE  LIMPET  POOL. 

75.  THE  CLEAR  POOL. 

76.  THE  SHALLOW  POOL. 


12 


77.  THE  BUTTERFLY  POOL. 

78.  THE  STARFISH  POOL. 

79.  A  SHELTERED  NOOK. 

80.  POOL  OF  THE  BLUE  ROCK. 

EARLY  PAINTINGS 

81.  EMERALD  NIGHT. 

Lent  by  The  Folsom  Galleries. 

82.  THE  LAST  LOAD. 

Lent  by  The  Folsom  Galleries. 

83.  SUMMER  NIGHT. 

Lent  by  The  Folsom  Galleries. 

84.  A  SILVER  DAY. 

Lent  by  The  Folsom  Galleries. 

85.  THE  MARKET  AT  SAMER. 

Lent  by  The  Folsom  Galleries. 

86.  THE  OLD  WINDMILL. 

Lent  by  Louis  A.  Lehmaier,  Esq. 

87.  CHURCH  AT  ARBONNE. 

Lent  by  Louis  A.  Lehmaier,  Esq. 

88.  PICARDY  MARSHLANDS. 

Lent  by  George  Eastman,  Esq. 

89.  EVENING  GLOW. 

Lent  by  George  Cary,  Esq. 

90.  ROAD  AND  CANAL. 

Lent  from  the  Permanent  Collection  of  The 
Buffalo  Fine  Arts  Academy,  Albright  Art  Gallery. 

91.  THE  INNER  BASIN,  BOULOGNE-SUR-MER. 

92.  LANDING  THE  FISH. 


13 


93.  GOLDEN  GLOW. 

94.  BRATTLEBRORO. 

95.  THE  HUDSON. 

96.  THE  TEMPLE  OF  LOVE. 

97.  TWILIGHT,  BOULOGNE  HARBOR. 


14 


6&~  63!  GU 


;  y 


V 

♦I 


